hats and laces

oldrags:

Corset, 1890-95 England, the V&A Museum

Improvements in design, equipment and materials meant that corsets could mould the figure to suit the latest fashions. The straight busk on this corset creates a vertical line from bust to abdomen which complemented the less rounded, more angular silhouette of the 1890s. It was also supposed to relieve pressure on the internal organs while supporting the stomach. Shaped pieces (five on each side) have been seamed together and bust and hip gussets inserted to give the corset its distinctive shape. Strips of whalebone follow the contours of the hourglass silhouette, creating a rigid structure to emphasise the smallness of the waist. Each strip is enclosed in a bone channel formed by neat rows of machine stitching. The decorative embroidery stitches (flossing) visible towards the bottom and back of the corset prevent the whalebone from forcing its way out of these channels. A hook is attached at the centre front to prevent the petticoat from riding up and causing extra bulk at the waist.

This is hot.

My favourite yet, evening dress by the Callot Soeurs, 1915-16.

Corset, 1915-1917

Onto the second part of the request: late 1910s.

Evening dress, 1915-16.

Dramatic 30s’ backs.

Morning suits and hats, 1936-37

hannahwouldwearthis:

omgthatdress:

1930s purse via The Costume Institute of The Metropolitan Museum of Art

there is a person. on this bag. hannah wants little figures of people on all of her bags. then she will name them and make them talk to each other.

Ways to wear a 1932-34 evening dress. Also, the best things about this decade were the exposed backs.

Lingerie, ca.1930s

The mythical griffin is incorporated in the drawnwork decoration. Griffins, a creature with characteristics of both the lion and eagle, were the guardians of treasure and the divine in legend. Designers were faced with a constant demand for novelty and sophistication that their wealthy clients expected, even in their underpinnings. The original owner of this lingerie set, Millicent Rogers, is known for her particular penchant to choose the most interesting and often unusual clothing and accessories, which as seen here, includes her lingerie.

“Oh beware of the griffin, the guardian of my treasure!”, she said batting her eyelashes.

Hilarious, really.

Evening gloves, c.1930

Lanvin dress in “Lanvin blue”, fall-winter 1934-35

This particular shade of blue is known as “Lanvin blue.” The shade was one of the many designer colors which Lanvin had produced in her dye factory in Nanterre, France. The color could not be reproduced and therefore was never subjected to reproduction as was many of the designer garments in this period where design theft was rampant. As with many of Lanvin’s creations, this garment shows historical representation. Its loose style and sleeve design are directly mimicking of the houppelande worn by men and women in the 14th and 15th centuries.

fripperiesandfobs:

Gown

1740’s (made)

1780’s (altered)

From the V&A

oh yes.

Originally, the gown was probably a sack back, with loose box pleats at the back to allow for maximum display of the silk pattern. The gown would have been open down the front, with folded-back robings and rectangular cuffs at each elbow. The last conversion in the 1780s to the style of that time was quite clumsily executed, suggesting that perhaps the gown had been handed down to a maid.

(V&A Museum)

This is clumsily executed? I think it looks good but hey I’m no expert. I’d love to execute my dresses so clumsily.

By the way, send more requests my way. I don’t want this blog to turn into 18th-century-obsession-fest but I’m too lazy to think of what era to post.

(via defunctfashion)

omgthatdress:

Hat ca. 1943 via The Meadow Brook Hall Historic Costume Collection

Squee.

omgthatdress:

Evenign dress ca. 1784-1790 via The Los Angeles County Museum of Art

Would it be absolutely ridiculous if I wore my hair like that?